Landscape design and architecture adhere to the similar principles of form making. These have been affiliated with nature through history, sharing dialogues of philosophy. As theoretical premise, an investigation at the relationship between form and programme in the Western world (from Antiquity to the 21st Century). The conclu¬sion was that there is a relationship between form and programme, that different periods in history have drawn varying conclusions regarding this relationship. My conclusion views the idea as the most important aim of architecture, that the relationship between form and programme influences/guides/shapes the idea through the design process. The urban framework aims to preserve, to link and enhance open space in the Pretoria Central Business District. The theoretical investigation and framework directed the need for a site that would allow me to convey my own conclusion regarding the relationship, ingrained with the idea of preserving and linking open space in the focus area of Pretoria. The Union Buildings as selected site, orientated around its natural landscape, is layered with different interventions representative of relationships between form and programme, presenting the opportunity to explore my premise. The site is dominated by biota or nature, allowing the assessment of the terrain in terms of how landscape (more specifically plants) as a programme influences architectural form. Interventions focused on the Vredehuis complex (sited on the Union Buildings grounds) function as the focus of the argument. The site is classified as a botanic garden. The programme of botany is informed by the site history; residential (1880-1914), botanic gardens (1914-1975), nursery (1915-1950), greenhouse (1918-1975) and entomology/plant pathology division (1914-2007). A further investigation of plants informs the function and programme of the design. / Mini Dissertation (MArch(Prof))--University of Pretoria, 2010. / Architecture / unrestricted

"The purpose of this paper is to present the life and works of Irving Stone, and to show his development as a writer of a particular literary form, the biographical novel. It is assumed that in the development of the biographical novel, Stone has made a contribution to American literature"--Introduction. / Typescript. / "August, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Sara K. Srygley, Professor Directing Paper. / Includes bibliographical references (leaves 66-68).

Varje dag är fylld med olika intryck, vi går till jobb, skola, tar hand om familjoch går på ärenden. I bilen lyssnar vi på musik på radion, på kommunalatransportmedel använder vi hörlurar, hemma kopplar vi av och kollar film ellergör sysslor samtidigt som vi har musik i bakgrunden. Underhållning i form avljud finns överallt och är en stor del av vardagen för de flesta människor. Trotsdetta, av olika orsaker, har högtalaren gått mot att ta mindre plats i hemmetvilket resulterar i sämre ljudkvalité. För mig som inte tidigare varit bekantmed uttrycket hifi (high-fidelity som innebär förmågan för högtalarna attåterge en bra ljudbild med låg distorsion), öppnades en helt ny värld upp dåjag fick chansen att lyssna på riktiga hifi-högtalare. Tredimensionaliteten ochklarheten i ljudet kan låta som att du har det bandet du lyssnar på i verklighetenprecis framför dig. Hifi är en upplevelse och efter man introducerats för hififörnyas ens förväntningar av vad högtalare ska kunna prestera. Å ena sidan har högtalare under de senaste åren gått mot att blimindre, billigare och portabla vilket ökar tillgängligheten, men samtidigtförsämras ljudkvalitén som konsekvens av dessa “utvecklingar”. Å andra sidanfinns en enorm hifi-värld med otrolig ljudkvalité som inte är lika tillgängligför allmänheten. Det område jag har valt att utforska är högtalarupplevelseri hemmet, genom design minska tröskeln för oerfarna till hifi som vill åt enrikare ljudupplevelse att övergå till en hifi-uppsättning. I mitt examensprojekt utforskar jag olika användarupplevelser förhögtalare i hemmet. Det finns många olika typer av högtalare och varje har sittspecifika syfte, vare sig det är för att kolla film, streama musik, höja stämningenvid en bjudning eller ställa frågor till en smarthögtalare genom röststyrdaaktiviteter. Ett område som fångat mittintresse är hifi. Vart gränsen går för atten högtalare ska klassas som hifi är dock luddigt och har förändrats med tiden.Genom att interagera med hifi-entusiaster på hifi-forum, intervjua ägare ochförsäljare på hifi-butiker har jag försökt att förstå mig på kulturen och lärt migatt uppskatta den.

This thesis consists of a series of nine poems which deal with the theme of finding a balance between energy and form in life and in poetry. Fourteen miscellaneous poems are also included. In addition, an introduction by the author explains the purpose of the thesis as a whole and explicates the poems in terms of this purpose. The introduction discusses the meaning of each poem and the techniques used to convey its message. Each poem in the series of nine poems is also related to the. overall theme of the series.

The Inevitable: Withdrawn is a critical preface and collection of non-fiction writing: personal essay, lyric essay, fragments, and experimental forms. The work’s cohesive subject matter is the author’s European vacation directly following her divorce. Within the pieces, the author attempts to reconcile who she is when starting over and she begins to ask questions regarding the human condition: How do I learn to exhibit intimacy again, not just with romantic partners, but with also in a familial way with my father, and how does absence in these relationships affect my journey and how I write about it? How do I view, and remake myself, when finding my identity that was tied to another individual compromised? How does a body, both physical and belonging to me, and physical as text, take certain shapes to reflect my understanding? How do I define truth, and how do I interpret truth and authenticity in both experience and writing? How do I define and know the difference between belief and truth? And finally, how does narrative and language protect, or expose me? The Inevitable: Withdrawn considers debates regarding the definition of narrative in order to address a spectrum of non-fiction writing. The collection takes into consideration non-fiction conventions, form as functionality, philosophy, linguistics, cognitive psychology, prose and poetic theory, and the works of other notable writers.

Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Psychology, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND HUMANITIES. / Vita. / Bibliography: leaves 183-190. / by Alex Paul Pentland. / Ph.D.

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My study triangulates three recurrent Hardyan concerns – gender, interiority, and form – as they are shaped by the sub-genres of the serial novel, the sentimental novel, and the novel of sensation. I explore Thomas Hardy’s adjustments of traditional forms to new paths, including his vision of a new sort of stealth-realism, in the representation of subjectivity. When we consider Hardy’s vexed depictions of gender through the lens of form, the debate over Hardy’s “unfair” (misogynist) or “progressive” (feminist) representations becomes less polarized and allows for broader examinations of Hardy’s experimental impulses. It is my contention that Hardy is relentlessly engaged with female representation – and narrative representation, overall – as a major formal and ideological problem, and that he demonstrably engages with this problem at various levels of remove: his renderings of subjectivity are not simply attempts at faithful depiction, but meta-commentary on the processes of narrative technique and gendered representation.